Yes, that was something I was curious about… Having record Flags is a huge need.
I would also like to see them be able to have an overlay of the settings that can be toggled on the video outputs. Same as how read has the simple and advanced tool overlays.
100% agree ..
Agreed. Honestly I do not know any cinema camera that allows to delete individual clips. No reason for it - it will only cause trouble as people delete clips they didn’t mean to delete!
You can block the delete function in the firmware if you like… but we should be given the option to use it, because wildlife photography generates a lot of waste, and the computer is often far away. In a studio for coffee bean photographers, the computer is always readily available…
Last year, Young mentioned that this feature would definitely be retained and would work the same way as on RED cameras via USB-C and an Ethernet adapter.
This refers to a specific situation where we’re shooting a series of clips lasting about 2 seconds.
On RED cameras, transferring such a 4K 120 fps clip takes a few seconds. If it takes 30–40 seconds here and I don’t have to remove the drive from the camera to do so, that’s a very important feature for me.
Especially since I only need about 400–500 FPS for this application.
Yeah, I hear you. Wildlife is a challenge all on its own. This is where pre-record becomes your best friend—only saving the moments you know are worth keeping.
I’ve shot many “Coffee Beans” In Kenya, India, Germany, Zimbabwe, Nepal, Ghana, Italy, and South Africa. On many of those jobs I’ve been in the field for days at a time without ever transferring footage to a computer. So not all of us are tabletop warriors with a workstation sitting next to us.
As Werner Herzog once said:
“We are not garbage collectors! We are filmmakers! We are thieves! We get away with loot from the most beautiful places.”
I’m not opposed to Pixboom adding a delete function, but there are several reasons why most professional cinema cameras intentionally don’t include one.
1. Preventing accidental loss
On a professional set, footage can be worth thousands—or even millions—of dollars. Imagine a camera assistant accidentally deleting the hero take after a 200-person crew spent an hour setting it up. That mistake is irreversible. Manufacturers decided long ago that it’s safer to remove the option than risk accidental deletion.
2. Chain of custody
Professional productions treat camera media like the original film negative. The workflow is simple:
Deleting individual clips simply isn’t part of that workflow.
3. File system integrity
Cinema cameras rarely record just a single video file. They often create RAW image data, metadata, LUT information, timecode, clip databases, and other supporting files. Removing one clip incorrectly can break those relationships or leave the media database inconsistent. Formatting the card is a much safer way to return it to a known-good state.
4. Clip numbering
Professional productions rely on continuous clip numbers. If A001_C002 suddenly disappears, post immediately notices. While missing numbers aren’t catastrophic, deleting clips can create unnecessary confusion, especially if numbering is ever reused.
5. Data recovery
If a card is damaged, deleted or corrupted footage can often be recovered. Frequent file deletion changes the filesystem and can make recovery more difficult. A formatted card that hasn’t been overwritten is often easier to recover than one that’s had files selectively deleted.
6. Professional philosophy
The industry has always operated on one principle:
“Media is cheap. Reshoots are expensive.”
The expectation is that productions carry enough media for the day and manage footage through proper backup procedures—not by deleting clips in-camera.
That said, I wouldn’t object to Pixboom implementing an optional delete feature with the proper safeguards—perhaps hidden behind an “Advanced” menu with multiple confirmation prompts. For owner-operators and small productions, there are certainly situations where it could be useful without compromising the professional workflow.
HDMI and SDI can be used simultaneously. However, when both are in use, their resolutions must match. The supported settings are 1080p at 60 Hz and 2160p at 30 Hz now.
Sorry, the current version only supports 30p and 60p for now. I’ll take your request into consideration and discuss it with our development team.
We’re currently discussing project frame rates and HDMI/SDI output frame rates with our development team, and we plan to provide more options in future updates.
As for the Mark Loop feature you mentioned, we already have an implementation plan and development is underway. It will be supported in a future release!
Thank you for your support! We’ve noted your request and will continue to improve and refine these features step by step. Please stay tuned!
Thank you for your suggestion. Improvements to the playback and navigation experience are already in development. Please stay tuned for future updates!
We completely understand your need. However, adding an in-camera delete function involves additional considerations around memory card read/write operations. We’ll continue exploring whether there is a reliable solution and hope to address your storage management concerns in the future.
The Mark feature has been designed and added to our development roadmap! A future release will provide consistent Mark data and workflows across recording, in-camera playback, and Cine. Please stay tuned for future updates～
Thank you very much for your reply and suggestions!
The requests you mentioned—including navigation between the main screens, the file-naming system, and saving configurations—are either already in development or planned for future development.
Regarding scroll-wheel speed sensitivity, on the Playback screen, scrolling at different speeds while a video is playing currently triggers two different playback speeds. Would this meet your needs? When playback is paused, the scroll wheel moves through the footage frame by frame, making it easier to locate a specific frame precisely.
Thank you all very much for your support and feedback!
We’ve received your requests and suggestions. Some of these features are already in development or on our roadmap, so please stay tuned for future updates.
Other requests—such as deleting clips in-camera, extending the Pre-Record duration, and supporting additional HDMI and SDI output resolutions—may involve certain technical challenges. We’ll continue evaluating and discussing these requests with the team, with the goal of providing the best possible user experience.
What I am looking for is not a simple 1x 2x 4x play back ramp. Think of it just like apple does their scrolling on their products. If you scroll on a webpage slowly it goes slow if you swipe your finger quickly it scrolls very very fast.
The function of scrolling almost feels like it has weight to it. This gives the end user a high degree of precision even when trying to scroll very quickly through a clip.
When shooting a coaster with a 600mm lens I had a very hard time finding the exact moment the coaster passed my frame even watching back at 4x speed. so it would be fantastic to have the scroll wheel active with this quick ability.
I think its called momentum scrolling or inertial scrolling…
Hope that helps clarify what I am asking for.
Updated list of fixes/issues now in post 72 of this thread.
I will second this.
Just to put this into context: on larger movies media typically goes away until it gets cleared by the post house (which can take days sometimes). This way beyond a checksum verification and ensures that there are 100% no issues with offloaded files.
The idea of having the ability to delete a clip in camera is pretty harrowing and I would certainly advise against it. It just opens up pandoras box IMO.
Carrying a 13" Macbook Air into the field and manually deleting clips from the SSD would be the way to go or maybe there can be a secrete 'Explorers" menu that can only be unlocked with a certain button combination to unlock ‘In-Camera Clip Deleting’? ;-)
And obviously, as pre-record gets expanded that will only help to cut down useless clips.
Why so much fear, simply by default there is no erasing. You want to erase, turn on the erasing option and then you have erasing. Who doesn’t need to ever activate the erasing option inside the camera.
You must have only shot on mirror-less cameras before. It really comes down to a workflow and in cinema a standardized workflow means results and less mistakes.
No shade if you haven’t worked closely with cinema bodies before but at the end of the day on a film set the media is finer than gold and is protected as such.